Henry Leung

The effects of the Neuro-linguistic programming technique “Anchoring” on

Music Performance Anxiety

Background:

A lot of related researches based on cognitive behavior therapy, behavioral techniques

and other scientific proven methods have been done on the overcoming of Music
Performance Anxiety (MPA). The reality is that MPA exists even in the top-ranked music
schools in Australia. Some final year’s music students of Melbourne University can play
beautifully in their practice rooms, but reluctant to pay in front of people, and even if they
do, their performance is impaired due to performance anxiety. It is common to hear
performers in the weekly concert class said they were really anxious during the
performances. It is very disappointing to see young musicians spend so many hours on a
piece in an attempt to share the music to other people and then find it scary to perform in
public. I always enjoyed playing the piano and performing, but my performance reduced
in quality due to performance anxiety constantly. As a person who is really into self
improvement and psychology, I became interested in the reason why musicians have
performance anxiety. So, I started to apply what I have learnt in Neuro-linguistic
programming (NLP) to help reduce my performance anxiety. As a result, using just one
of the many techniques in NLP called “Anchoring”, my anxiety towards performing
related situations was greatly reduced and I have started to enjoy playing in front of a
mass of audience. The quality of my performance has also improved, too. The
performance anxiety I am encountering right now only comes from the lack of
preparation. I then started to apply the NLP anchoring technique to my music friends and
piano students and majority of them managed to reduce their anxieties in not only
performing, but also in other aspects of their lives. These aspects include public speaking,
sport performance and social situations. The good thing is that the NLP technique is not
hard to teach and also not hard to learn. If a person can keep an open mind and actually
practice applying the technique, they could reduce their performance anxiety in a really
short time and even achieve positive results instantly. I became really curious and wonder
if the same results can be achieved by musicians from different backgrounds who play
different instruments. Based on the current performance anxiety condition in musicians, I

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have great concern in those music students who are suffering from performance anxiety.
My passion in self improvement, my love for music and my strong sense of curiosity in
music performance anxiety leads to my decision to propose to do this research. The
findings of the research will not only benefit musicians but also in other professions as
performance anxiety is also found among experts. I aim to discover more remedies that
can be made practical and practicable. There are no researches on using NLP to
overcome music performance anxiety yet, which makes perfect sense to add something
new and refreshing to the music performance anxiety literature.

Literature reviews:

Performance anxiety

There has been much research on performance anxiety over the past two decades. Those
researchers who suggest that anxiety may involve the coordination of several response
systems. Personality factors could also contribute to performance anxiety. (Lang, 1968.
Spielberg, 1979; Lang Miller, & Levin, 1988). Lang (1971) proposed a three-system
model of anxiety. These three-system models are physiological responses, cognitive
responses and behavioral responses. Although, these three-systems are described as
separate entities, these systems are interrelated. Barlow’s (2000) model of performance
anxiety is also useful in aiding our understanding of the cause of performance anxiety.
Barlow proposed an integrated set of triple vulnerabilities that can account for the
development of an anxiety. These are a:

1. Generalized biological (heritable) vulnerability;

2. Generalized psychological vulnerability based on developing a sense of control
over salient events, and a
3. More specific psychological vulnerability whereby anxiety comes to be associated
with certain environmental stimuli through learning processes such as respondent
or vicarious conditioning.

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De Nelsky to (1987 as cited in Robson, Davidson, & Snell, 1995) also proposed a similar
model. The model suggested that MPA was likely to develop under conditions of:

1. Much early reinforcement for outstanding performance

2. Performances becomes a major basis for self-esteem
3. Increasing competition with fewer and fewer rewards available
4. Highly critical judges provide much negative feedback concerning performance
5. Perfection of performance becomes a primary goal
6. High practiced, automatic behavior becomes “de-automised”
7. The performer is obsessed more and more about possible negative outcomes
8. Performance anxiety mounts
9. A positive-feedback loop is established, which leads to ever-increasing amounts
of PA.

Kenny (2004) suggested that music performance anxiety may be triggered by conscious,
rational concerns or by cues that trigger past anxiety producing events. Once these types
of past negative events are triggered, the performer will not only go into a negative state,
but also shifts into a self-evaluative attention state. These self-evaluative attentions are
likely to be followed by several negative self-statements that will disrupt concentration
and performance. This type of anxiety is similar to classical conditioning. It was
demonstrated 100 years ago by Ivan Pavlov (who induced dogs to salivate by ringing a
bell just before feeding them, and then ringing the bell alone). In one of the earliest
studies of classical conditioning, an eleven month old boy name Albert was introduced to
a white rat. Initially, Albert liked the rat and wanted to play with it. However, each time
he reached for it, the experimenter made a loud noise behind him, frightening him. After
five such noises, Albert had anchored fear to the rat, and panicked whenever he saw it.
Having induced this phobia by anchoring, the experimenters were then able to remove it
similarly. (Davison, G.C., and Neale, J.M., Abnormal Psychology, John Wiley & Sons,
New York, 1986)

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In a controlled research study published in Germany (Reckert, 1994), Horst Reckert

describes how in one session he was able to remove students' test anxiety using this
simple technique. In another study, John Craldell discusses the use of anchoring to access
a "self-caring-state" useful for adult children of alcoholics (Craldell, 1989), and in a third
study, Mary Thalgott discusses the use of anchors to support children with learning
disabilities (Thalgott, 1986).

In (Reitman, 1997), it suggested that a music-assisted variant of systematic

desensitization may help musician in reducing performance anxiety. The musicians may
be able to cue a relaxation response by recalling the relaxing music in those music-
assisted programs. This is closely related to NLP-anchoring.

In (Csikzentmihalyi, 1992) and (Jackson, 1995), it has evidences on the occurrence of

flow state in elite athletes and musicians during performing situation. The performers
describe the experiences as exhilarating. There is a possibility that using NLP-anchoring,
the performer can re-access this top state whenever they need to.

Neuro-linguistic programming

Neuro-linguistic programming (NLP) is defined in the Oxford English Dictionary as "a

model of interpersonal communication chiefly concerned with the relationship between
successful patterns of behavior and the subjective experiences (esp. patterns of thought)
underlying them" and "a system of alternative therapy based on this which seeks to
educate people in self-awareness and effective communication, and to change their
patterns of mental and emotional behavior". The co-founders, Richard Bandler and
linguist John Grinder, claimed it would be instrumental in "finding ways to help people
have better, fuller and richer lives”. They coined the title to denote a supposed theoretical
connection between neurological processes ('neuro'), language ('linguistic') and
behavioral patterns that have been learned through experience ('programming') and that
can be organized to achieve specific goals in life.

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NLP was originally promoted by founders Bandler and Grinder in the 1970s as an
effective and rapid form of psychological therapy, capable of addressing the full range of
problems which psychologists are likely to encounter, such as phobias, depression, habit
disorder, psychosomatic illnesses, learning disorders. It also espoused the potential for
self-determination through overcoming learned limitations and emphasized well-being
and healthy functioning. Later, it was promoted as a 'science of excellence', derived from
the study or 'modeling’ of how successful or outstanding people in different fields obtain
their results. It was claimed that these skills can be learned by anyone to improve their
effectiveness both personally and professionally

NLP had strong influence in management training, life coaching, and the self-help
industry.

NLP organization has been established around the world offering different NLP courses
and these include NLP practitioner, NLP master practitioner and NLP training.
These organizations include The American Board of NLP, International Association for
Neuro-Linguistic Programming, NLP Comprehensive, International Neuro-Linguistic
Programming Association, NLP ASIA, The Mind Institute etc.

The NLP organization in Australia includes: Australian Institute of NLP, Inspiritive, Tad
James NLP etc.

Anthony Robbins

Personal development guru Anthony Robbins teaches people how to use NLP for
personal transformation in his seminars all over the world. He also teaches NLP in his
self-help products. These products includes: Awaken the Giant Within, Personal Power,
Get the edge etc.

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Paul McKenna

Paul Mckenna has hosted self-improvement television shows and presents seminars in
hypnosis, neuro-linguistic programming and weight loss. In the 1990s, McKenna
presented a number of TV programmes including The Hypnotic World of Paul McKenna
(1993-1995), Paul McKenna's Paranormal World (1997) and Hyp the Streets (1999). In
January 2008, the Discovery Channel signed a £23 million deal with McKenna to make a
series of self-help programmes. To date, the deal is the largest ever for a British TV
personality. The first of his I Can Make You Thin programmes aired on TLC, The
Learning Channel on 16 March 2008. He used NLP Technique-Anchoring to help people
overcome compulsive eating in the “I Can Make You Thin” TV show.

Neuro-linguistic programming technique – “Anchoring”

In NLP, “anchoring” refers to the process of associating an internal response with some
environmental or mental trigger, so that the response may be quickly, and sometimes
covertly, re-accessed. Anchoring is a process that on the surface is similar to the
“conditioning” technique used by Pavlov to create a link between the hearing of a bell
and salivation in dogs. By associating the sound of a bell with the act of giving food to
his dogs, Pavlov found he could eventually just ring the bell and the dogs would start
salivating, even though no food was given. In the behaviorist’s stimulus-response
conditioning formula, however, the stimulus is always an environmental cue and the
response is always a specific behavioral action. The association is considered reflexive
and not a matter of choice. In NLP this type of associative conditioning has been
expanded to include links between aspects of experience other than purely environmental
cues and behavioral responses. A remembered picture may become an anchor for a
particular internal feeling, for instance. A touch on the leg may become an anchor for a
visual fantasy or even a belief. A voice tone may become an anchor for a state of
excitement or confidence. A person may consciously choose to establish and retrigger
these associations for him or herself. Rather than being a mindless knee-jerk reflex, an
anchor becomes a tool for self empowerment. Anchoring can be a very useful tool for
helping to establish and reactivate the mental processes associated with creativity,

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learning, concentration and other important resources. The notion of “anchoring”

emerged in NLP when Bandler and Grinder were first modeling the hypnotic techniques
of Milton Erickson. Erickson often used or suggested particular cues as posthypnotic
triggers to help a person change his or her internal state or reaccess a hypnotic trance.
Grinder and Bandler generalized the use of these cues and triggers to include other types
of internal processes, without the need of initially establishing a hypnotic state. By 1976
the first NLP anchoring techniques (such as collapsing anchors) were developed. It is
significant that the metaphor of an “anchor” is used in NLP terminology. The anchor of a
ship or boat is attached by the members of the ship’s crew to some stable point in order to
hold the ship in a certain area and keep it from floating away. The implication of this is
that the cue which serves as a psychological “anchor” is not so much a mechanical
stimulus which “causes” a response as it is a reference point that helps to stabilize a
particular internal state. To extend the analogy fully, a ship could be considered the focus
of our consciousness on the ocean of experience. Anchors serve as reference points which
help us to find a particular location on this experiential sea, and to hold our attention
there and keep it from drifting. Similar to the Metaphor of a Boat or Ship, an Anchor Is a
Reference Point that Stabilizes a Particular State The process of establishing an anchor
basically involves associating two experiences together in time. In behavioral
conditioning models, associations become more strongly established through repetition.
Repetition may also be used to strengthen anchors. For example, you could ask someone
to vividly re-experience a time she was very creative and pat her shoulder while she is
thinking of the experience. If you repeat this once or twice, the pat on the shoulder will
begin to become linked to the creative state. Eventually a pat on the shoulder will
automatically remind the person of the creative state.

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Purpose:

The purpose of this study is to determine if NLP technique-Anchoring can reduce music
student’s different stages of performance anxiety. These stages include the period leading
up to the performance, the moment just before the performance and during the
performance.

This study will attempt to answer the following questions:

1. What symptoms and MPA experiences have been encountered by Melbourne
University music students participating in the program?
2. Does NLP technique-anchoring help to reduce MPA for these students?
3. How anchoring help these students before and during the performance?
4. Are the results permanent?

Research Design:

This study will incorporate a pre-and post-treatment, repeated measures factorial design
to examine the effects of NLP technique-Anchoring in reducing the symptoms associated
with Music Performance Anxiety (MPA) in University-level music students. The subjects
will be randomly assigned to one of the following three groups:

Group 1 is the control group, only participate in the pre and post performance, receive no
treatment.

Group 2 is the placebo group, has some other treatment like deep diaphragm breathing.

Group 3 is the NLP group – Learn how to use NLP-anchoring to reduce performance
anxiety.

Subjects:

The study will require at least 60 participants and they will be spit into 3 groups.

Eligibility requirements for participants

1. Music students that will have a performance exam at the end of the semester
2. MPA is impairing their performances
3. MPA cause them to avoid performance-related behaviors

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4. Available to meet for 60 minutes on 6 consecutive weeks, participate in pre- and

post-performances and written assessments, and complete all homework
assignments.

Procedures:

Subjects will be recruit from Melbourne University faculty of music and vca via posted
advertisements, concurrents and emails. Potential subjects will be given a participant
identification sheet, a personal history questionnaire and treatment consent form.

Pre-treatment and Post-treatment performance

Subjects will be asks to perform a 5-10 minute piece from standard classical repertoire,
which they had played in a most recent recital or audition in front of audiences. They are
require to do this before and after the treatment

Treatments

Group 2 and Group 3 will receive 6 weekly treatment sessions after the Pre-treatment
performance. Group 1 will not receive treatment.

Treatment for Group 2-

Every week they will receive a 60 minute sessions on deep diaphragm breathing. They
will imagine different future performance related situation and when the anxieties come
up, they will be instructed to do deep diaphragm breathing until the anxieties are lessen.
They will be taught how to practice it at home.

Treatment for Group 3-

Every week they will receive 60 minutes sessions on NLP-Anchoring. The will be taught
how to create different self-anchors and anchor different positive states that will be
beneficial to performance related situation. They will imagine different future
performance related situation and when the anxieties come up, they will be taught how to
use the anchor to collapse the anxieties. They will be taught how to practice it at home

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Measure

Measurement for Pre-treatment and Post-treatment performance

To measure subject’s pre-treatment and post-treatment perceived anxiety for each

performance, a modified version of the State scale of the State-Trait Anxiety Inventory
(Spielberger, Gorsuch, Lushene, Vagg, & Jacobs, 1980) will be use. (see Appendix A, B)

The post-performance Items 3, 4, 6, 7, 9, 12, 13, 14, 17, and 18 of both forms will score
in reverse order. Each item of the scale will be given a weight score of one to four as
specified in the manual of this standardized test. The total scores for the scale can vary
from a minimum of 20 to maximum of 80. (Brotons, 1993)

Measurement for the treatment groups during the weekly sessions (group 2 and 3)

Daily practice logs:

Participants will need to keep a record of how often they practice the deep breathing and
anchoring training. How do they practice etc. They will be given a questionnaire to see
how often they practice. (see Appendix D)

Performance logs:

Participants will be encouraged to apply what they learn immediately. They will be
encourage to do some informal performances for friends or family member or any other
anxieties inducing situations to test the effectiveness of those anxieties reducing
technique. They will need to keep a record of how they feel about those performances.
They will be given a questionnaire to see how often they do practice performance. (see
Appendix D)

Weekly session’s questionnaire:

For each session, they will be ask to fill out a questionnaire to see what their current
anxieties level are using a modified version of the Basic Anxiety List for Musicans
(Appel, 1976) (see Appendix C)

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Analyzing the results:

To analyze the final results of the research is by comparing the anxiety level score from
the Pre and Post-treatment forms of all three groups.

To analyze the weekly anxiety level for the treatment groups is by comparing 1-10 rating
of the weekly session’s questionnaire.

Their daily practice log will be taken into account when analyzing the results.

Outline of the 6 weekly sessions for the treatment groups

Group 2:

Week1 – Week6
Every session, participants will be instructed to do deep breathing to relax themselves in
different imagined future anxious performing related situation.

Group 3: (See Appendix E, F, G for detail explanation of the exercises)

Week1
Induction to NLP
What is anchoring?
Practice creating an anchor

Week2
Self anchors Part 1
Creating a “confident’ anchor

Week3
Self anchors Part 2
Creating a “relax” anchor

Week4
Self anchors Part 3
Creating a “excitement” anchor

Week5
Circle of Excellence

Week6
Collapsing Anchor

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Other things to consider related to the study:

Alternate weekly sessions may needed for some participants.

The size of the NLP group may need to be smaller to make sure each participant get
enough attention.
Some participants may need one on one session to grasp the NLP-Anchoring concepts
and apply it accurately.
The study may need one-two research assistants when organizing the pre and post
treatment performances.

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References:
Barlow, D. (2000). Unravelling the mysteries of anxiety and its disorders from the
perspective of emotion theory. American Psychologist, 55, 1247-1263.

Kenny, Dianna. (2006). Music performance anxiety: Orgins, phenomenology, assessment

and treatment.

Davison, G.C., and Neale, J.M., Abnormal Psychology, John Wiley & Sons, New York,
1986

Craldell, J.S. "Brief treatment for adult children of alcoholics: Accessing resources for
self care" p 510-513 in Psychotherapy, Volume 26, No 4, Winter, 1989

Thalgott, M.R. "Anchoring: A "Cure" For Epy" p 347-352 in Academic Therapy, Volume
21, No 3, January 1986

Reckert, H.W. "Test anxiety removed by anchoring in just one session?" in Multimind,
NLP Aktuell, No 6, November/December 1994

Csikazentmihalyi, M. (1992). Flow: The psychology of happiness. London: Rider.

Jackson. S. (1995). Factors influencing the occurrence of flow state in elite athletes.
Journal of Applied Sport Psychology, 7, 138-166.

McPherson, G. E., and Parncutt, Richard. (2002). The Science and Psychology of Music
Performance: Creative Strategies for Teaching and Learning. Oxford. University Press.

Pavlov, I.V. (1927). Conditioned reflexes (G. Andrep, Trans.). London: Oxford
University Press. Pp 162-166.

Reitman. A.(1997). The effects of music-assisted coping systematic desensitization on

music performance anxiety: A three systems model approach.

(Lang, 1968. Spielberg, 1979; Lang Miller, & Levin, 1988).

De Nelsky to (1987 as cited in Robson, Davidson, & Snell, 1995)

NLP Vol. I, Dilts, R., Grinder, J., Bandler, J., DeLozier, J., 1980

Collingwood, J.J.P., Collingwood, C.R.J. (2001). The NLP Field Guide; Part 1. A
reference manual of Practitioner level patterns.

Appendix A

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Pre-treatment performance modified stait-trait anxiety inventory form:

Before the performance…….

1. I feel calm 1234

2. I feel secure 1234
3. I am tense 1234
4. I felt strained 1234
5. I feel at ease 1234
6. I felt upset 1234
7. I worry over possible misfortunes 1234
8. I feel satisfy 1234
9. I feel frighten 1234
10. I feel comfortable 1234
11. I feel self-confident 1234
12. I feel nervous 1234
13. I feel jittery 1234
14. I feel indecisive 1234
15. I feel relax 1234
16. I feel content 1234
17. I am worry 1234
18. I feel confuse 1234
19. I feel steady 1234
20. I feel pleasant 1234

1-Very much so
2-Moderately so
3-Somewhat
4-Not at all

Appendix B

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Post-treatment performance modified stait-trait anxiety inventory form:

During the performance…….

1. I feel calm 1234

2. I feel secure 1234
3. I am tense 1234
4. I felt strained 1234
5. I feel at ease 1234
6. I felt upset 1234
7. I worry over possible misfortunes 1234
8. I feel satisfy 1234
9. I feel frighten 1234
10. I feel comfortable 1234
11. I feel self-confident 1234
12. I feel nervous 1234
13. I feel jittery 1234
14. I feel indecisive 1234
15. I feel relax 1234
16. I feel content 1234
17. I am worry 1234
18. I feel confuse 1234
19. I feel steady 1234
20. I feel pleasant 1234

1-Very much so
2-Moderately so
3-Somewhat
4-Not at all

21. Evaluate how well you think you played today

Excellent Fair
1 2 3 4 5

Appendix C

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Basic Anxiety List for Musicians (Modifed) (Appel, 1976)

The check list is composed of fifteen scenes related to the performance experience and
your feelings of confidence as a performer. Please rate each scene from the least (1) to
the most anxiety arousing (10). Try to use all ten points. Add any items you would
suggest at the bottom of the list.

Image Rating 1-10

1. Practicing a solo alone two days before the performance.
2. Practicing a solo two weeks before the performance.
3. Waiting for the results after the performance.
4. First notification of the performance.
5. Performing the piece for your teacher during a private lesson.
6. Playing the solo for friends
7. Traveling to the site of the performance.
8. Looking at the audience.
9. Thinking about the performance.
10. Five minutes before a performance.
11. Approaching a difficult passage.
12. Waiting while others perform first.
13. Walking into the performance room.
14. Initial moments of the performance.
15. During the performance.

Additional Fear Situations Pertaining to Solo Performance

16.
17.
18.

Appendix D

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Daily practice and practice performance Questionnaire:

Did you practice what you learn in the session this week?

How often you did you practice this week?

How long is each practice session?

How did you practice?

Did you apply the technique you learn in the session?

Did you practice performing in front of people?

What were the results?

Appendix E

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Self anchors

Installing Anchors

1. Decide on the state you want to anchor. For example being calm and relaxed.
2. Choose an anchor (or anchors) that you wish to trigger the resourceful state.
3. Recall a memory or imagine a situation where you can experience the state. So
recall or imagine a time when you experienced the state.
4. Active the anchor or anchors when the experience is vivid and you are in the
desired state.
5. Release the anchors when the experience begins to fade.If you keep applying the
anchor when the experience is fading, then you will anchor a drop in calmness
and relaxation!
6. Do something else - open your eyes ... count down from 10 to break state and
distract yourself.
7. Repeat the steps several times, each time making the memory more vivid. This is
not actually required when the anchor is established at the high point of the
experience. However, you can strengthen the anchor by establishing it at the high
point of several such experiences.
8. Apply the anchor and check that the required state occurs.
9. Future pace the situation where you want to experience the desired state. Fire the
anchor to check that it creates a sufficiently resourced state..
10. Check the anchor the next day to ensure it is a permanent anchor.

Tips

• The anchor (or anchors) should be fired in exactly the same way every time you
link them to the resourceful experience.
• Anchor at the high point of the experience containing the resourceful state.
• If you do not experience the state when future pacing and especially if you
experience anxiety, then stop applying the anchor. (You will anchor the negative
state!)
• There is a knowingness which makes anchoring work that is established by the
unconscious mind.
• You can strengthen the anchor by repeating the above process over several days.
• If you are in a situation where you experience the desired state in reality, then you
can re-establish the anchor to that situation.

Appendix F

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Circle of Excellence

The Circle of Excellence is a basic self-anchoring process originally developed by Dr. John
Grinder co-creator of NLP. Circle of Excellence can be used to elicit, create and stabilize desired
states.
1. Identify the external triggers for unresourceful state. These could be visual, auditory, tactile or
smell or taste stimuli.
2. Build a powerful resource state using the circle of excellence technique. To create a circle of
excellence, draw an imaginary circle on the floor or mark a circle in chalk large enough to step
into.
3. Remember experiences where you felt powerful, creative, composed, or any resourceful state
where you felt balanced and centered.
4. Step into the circle only as quickly or slowly as you remember and re-access the resourceful
state through your inner senses. ie. See what you saw through your own eyes within the actual
experience, hear the sounds and language used, and get in touch with your posture, breathing and
emotions when inside the desirable resource memory. Note that an observer would see changes in
your physiology such as better posture, deeper breathing, and skin colour changes. If there is no
noticeable change In your physiology the resource state is either poorly accessed or low intensity.
If it is low intensity, choose another resource state that is more powerful.
5. Repeat step 4. With an additional resource state, continuing to add resource states One at a
time. When you have enough resources, you step automatically into a very powerful state on
entering the circle which is truly now a circle of excellence.
6. Recall a trigger for the unresourceful state as you step into the circle of excellence. Repeat
process with each old trigger. Or ask your partner to play role the various triggers (gestures,
words, voice tones etc) as you step into the circle of excellence.

Reference for Circle of Excellence Process:

Circle of Excellence developed by John Grinder.
Collingwood, J.J.P., Collingwood, C.R.J. (2001). The NLP Field Guide; Part 1. A
reference manual of Practitioner level patterns.

Appendix G

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Collapsing Anchors

1. Select a certain feeling you want to get rid of. As you feel it squeeze your finger and
thumb on your left hand to anchor this state.
2. On an intensity scale of 0 to 10, where is this feeling?
3. Break state. Now think about what you would like to feel instead. What would make
you remain in a more resourceful state, Relaxation, Humor? etc. (May I suggest you
choose humor because humor is an incredible gift from the gods)
4. Now choose one of the resourceful states you have come up with and remember a time
you felt that resource strongly. What does this resourceful state feel like?
5. Remembering that resourceful state, anchor it to your right hand by squeezing your
finger and thumb together.
6. On an intensity scale of 0 to 10, where is this feeling? Important: Make sure that this
resourceful feeling is more intense than the fearful feeling.
7. Break state: Now squeeze your left hand finger and thumb anchor, hold it, at the same
time as you squeeze the right hand finger and thumb anchor. Keep both anchors on for a
few seconds, say 7 seconds. (Note: Many people get a sense when the anchors have
"collapsed" or integrated, often by a noticeable shift in breathing.)
8. Release the left hand anchor and just hold the right hand anchor for a couple of
seconds.
9. Break state: Now think of the original feeling you selected in step 1.

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